Mf^V 


ECCENTRIC  FORMS 

OF 

HEBREW  VERSE 


BY 


PROFESSOR   ISRAEL   DAVIDSON 


Reprinted    by    courtesy    of    the     General     Publication 
Committee    or    the   Students'   Annual   oi    the 
Jewish  Theological  Seminary  or  America 
'    New  York,    1914 


i 


ECCENTRIC  FORMS  OF  HEBREW  VERSE 

By  Professor  Israel  Davidson 

THE  influence  of  Arabic  on  Hebrew  poetry  made  itself  felt 
first  and  foremost  in  the  art  of  versification.  But  it  is  not 
the  meter  alone  that  has  been  revolutionized  by  Arabic  poetry :  the 
exterior  aspect  of  Hebrew  verse  has  equally  been  affected  by  it.  The 
Arabs  set  the  fashion  for  poets  to  indulge  in  strange  devices,  which 
gave  their  poems  an  interest  apart  from  their  content  and  rhythmic 
beauty.1  Due  partly  to  this  influence,  and  partly,  also,  to  a  native 
sense  of  playfulness,  mediaeval  Hebrew  poets  have  developed  a  cer- 
tain species  of  verse  which  may  be  called  whimsical.  Such  com- 
positions lay  special  stress  upon  some  odd  device,  calculated  to 
catch  the  eye,  or  to  surprise  the  ear,  or,  otherwise,  to  startle  us  by 
its  strange  peculiarity.  The  difficulties  in  which  this  species  of 
writing  abounds  challenged  the  ingenuity  of  the  best  minds  and 
gave  them  an  outlet  for  their  pent-up  youthfulness.  To  cite  but 
one  instance  out  of  many,  there  is  Abraham  ibn  Ezra,  in  the  midst 
of  his  weary  wandering,  penning  picturesque  epistles  or  writing 
riddles  to  his  friends.  In  fact,  this  peculiar  class  of  compositions 
is  not  only  interesting  to  the  student  of  Hebrew  poetry,  but  is 
just  as  interesting  to  the  student  of  Jewish  pastimes  and  amuse- 
ments, and  in  a  measure  it  may  also  serve  as  an  index  of  Jewish 
optimism. 

All  whimsical  compositions  may  be  said  to  fall  into  three  main 
divisions,  those  which  appeal  to  the  eye,  those  which  appeal  to  the 
ear,  and  those  which  strike  us  as  peculiar,  not  by  their  form  or  their 
sound,  but  by  the  fact  that  they  make  use  of  some  ingenious  com- 
bination of  letters,  words,  or  phrases.  The  odd  devices  by  which 
the  various  whimsicalities  are  produced  are  quite  numerous,  and 
the  following  is  an  attempt  to  elucidate  and  illustrate  each  of 
them: 


•See   Delitzsch,   Zur   Geschichte  der  judischen   Poesie,   Leipzig,    1836, 
164. 

81 


209" 


82  Students'  Annual 

1-2.    Acrostics  and  Lipograms 

The  most  ancient  of  the  poetic  whimseys  is  the  acrostic,  and 
since  the  Bible  itself  contains  some  poems  with  acrostics,  this  de- 
vice must  be  considered  as  genuinely  Jewish,  or  at  least  not  the 
result  of  Arabic  influence.  It  is  also  of  all  groups  the  most  fre- 
quently met  with  in  Hebrew  literature,  and  therefore  stands  in  no 
need  of  illustration.2  But  akin  to  the  acrostic  is  the  lipogram, 
which  is  a  poem  so  constructed  as  to  omit  entirely  one  or  more 
letters  of  the  alphabet,  or,  on  the  contrary,  restricted  to  the  use 
of  a  certain  letter  in  each  word.  The  earliest  examples  of  the  lipo- 
gram are,  perhaps,  the  two  poems  contained  in  the  eleventh  chapter 
of  Harizi's  Tahkemoni,  one  of  which  is  restricted  to  the  use  of 
the  letter  t?"n  in  each  word,  and  the  other  to  the  entire  omission 
of  the  same  letter.3  More  remarkable,  however,  are  the  two  lipo- 
grams  of  Abraham  Bedarshi,  one  of  which  consists  of  a  thousand 
words,  each  beginning  with  the  letter  t]"i>K,4  and  the  other 
of  four  hundred  and  twelve  words,  each  of  which  is  restricted  to 
the  use  of  the  letters  between  pj'^n  and  *i"c6  and  the  omission 
of  any  letter  that  follows  l"vb  in  the  alphabet.6  His  son,  Ye- 
daiah,  likewise  cultivated  this  species  of  composition,  and  wrote  a 
long  prayer,  each  word  of  which  begins  with  the  letter 
D"»  .6  Difficult  as  this  mode  of  composition  is,  there  were 
nevertheless  a  number  of  poets  who  cultivated  it  with  more  or  less 
success.  Of  those  who  imitated  Abraham  Bedarshi's  first  lipogram, 
mention  should  be  made  of  Joseph  ben  Sheshet  ibn  Latimi,  in  the 
fourteenth  century,7  Israel  Nagara  in  the  sixteenth  century,8  Isaac 


'On  the  various  forms  of  the  acrostic  comp.  Zunz.  Synagogale  Poesie, 
Berlin,  1855,  p.  105,  etc.;  MGWJ.,  vol.  47,  p.  171.  For  an  exceptional 
case  of  acrostic  see  Divan  of  Judah  Halevi,  ed.  Brody,  vol.  2,  p.  93-100. 

*Comp.  'iiDsrtn  ed.  Kaminka,  Warsaw,  1899,  p.  114,  beginning  jn.33  Kip 
and   p.    116,   beginning   wry  p»U  ,13^SK 

*J,BI7K  t\bn  (non  013  vol.  iv,  pp.  59-65),  comp.  also  non  D13  vol.  ii,  p.  116. 
No.  5. 

■  pnSn  ntrpn  (in  numerous  editions;    see  Benjacob  D"niK  »•  v.). 

•  poon  ntrpa  (See  ibid,  s.v.) 

T  'o'taS  p  ntrtf  'sis  t)ov  i  initPoS  nSen  beginning  wk  mk  voxn  ( in 
D'ni3'l  Y^ip,  Breslau,  1844).  Comp.  Zunz,  Literaturgeschichte,  p.  499; 
Landshuth  mi3j?n  mop,  p.  98. 

•  htrwr  niTOT.  Venice,    1599,    No.    54,    beginning  rmN  itPK  rvnx 


N 


Eccentric    Forms  of  Hebrew   Verse  83 

been  imitated  only  by  Wolf  Buchner12  and  M.  Hesse.18  In  regard 
Zedek  in  the  nineteenth.11  The  second  lipogram  of  Bedarshi  has 
been  imitated  only  by  Wolf  Buchner12  and  M.  Hesse.13  In  regard 
to  Buchner,  it  may  be  stated  in  this  connection  that  almost  all  his 
poetic  effusions  are  whimsical,  and  that  most  of  his  whimseys  are 
lipograms  of  one  form  or  other.  His  Shire  Tehillah,  for  instance, 
which  is  the  most  pretentious  of  his  poetic  compositions,  is,  with 
the  exception  of  the  first  six  leaves,  made  up  of  various  lipograms 
employing  different  letters  of  the  alphabet  for  the  different  poems.14 
While  most  of  the  lipograms  make  use  of  the  letter  efta, 
the  letter  N"n  was  also  not  neglected.  David  ben  Solomon  Vidal, 
in  the  sixteenth  century  (d.  after  1536),  composed  a  poem  of  a 
thousand  words,  each  beginning  with  N"n,15  and  the  same  was 
done  by  M.  S.  Kabener  in  the  nineteenth  century.19  In  the  18th 
tianiiw    Aaron  Hayyim  Voltera  composed  a  religious  poem  each 

ip.    run   vol.  iii,  p.  164. 

up.    t'oin  DVUK    Leghorn,     1780,    fol.    43-47,    beginning    -\vnptt 

cek  -pH  bx  triK  2«  fSnjJK   S\K 

UK  mnN  "t"3N  yhn   ...mSscK  vh  bn  msm  Sax  disk  i'bSn  sjSm 
1890.     He  left  out  the  name  Nathan  because  it  begins  with    pa 

f    .V?K. 

2  YW,  Frankfurt,  1802;   nSnn  'YB\  Berlin,  1808;  nnT  YB».  Frankfurt, 

in  poSn  IWpa.  Hamburg,    1829.     According  to   Furat,  Bibliotheca 
vol.   i,   p.   390.     Hesse  is  only   the  editor,   not   the   author. 
.  7a-8a  mn  oy  btrw  ncas  tton  each  word  contains  the  letter  p; 
(-j  »,  nSnn   'Ytr  comp.   note   12   above;    fol.   29b-40a,  niYY  W  consists 

O  than  850  words,  each  containing  a  b.    but  no  letter  that  follows 

ilphabet;  fol.  40-43  enn   Vtrh  PiSnn   'YB»  similar  to  t!ie  preceding; 
£  a  m  bv  '3  Di^  PiSnn  'YC  omits  all  letters  between  k  and  b ;  fol.  46b-50k 

M  i?nn  'YC  contains  a  pa  in  each  word;  fol.  50b-52a  Y'K  n*Y>  nSnn  'Ytt> 

2  etter   k   in  each  word.     The  same  method  is  carried  on  for  the 

•(»  oths,  the  poem  for  jtd    has  the  letter  d   in  each  word  and  so  on. 

nn  ntrprs  beginning  'ison  inun  iiyn  Wran  bun  (in  his  inS  c-roo 
546,  fol.  100a).    It  is  preceded  by  two  couplets  as  follows: 
pn  ttym  ipi'i       nnao  nbty  p*ip  aiptaa. 
pnn  s\bx  8'n  rhph  'nrnro  pirnr  -\dvh 

iainn  isruK  nw  nn«  uaSo  wax 

idik  «n  xn  "p  ripe  Sip        yotri  reDn  ann  nn« 
n  yb»  with     the     motto  wn  trio::  "pTl  xn    (Ezek.    xvi,    43)     in 
iiK,  vol.  i,  pp.  47-52. 


82  Students'  Annual 

1-2.    Acrostics  and  Lipograms 

The  most  ancient  of  the  poetic  whimseys  is  the  acrostic,  and 
since  the  Bible  itself  contains  some  poems  with  acrostics,  this  de- 
vice must  be  considered  as  genuinely  Jewish,  or  at  least  not  the 
result  of  Arabic  influence.     It  is  also  of  all  groups  the  most  fre- 
quently met  with  in  Hebrew  literature,  and  therefore  stands  in  no 
need  of  illustration.2     But  akin  to  the  acrostic  is  the  lipogram, 
which  is  a  poem  so  constructed  as  to  omit  entirely  one  or  more 
letters  of  the  alphabet,  or,  on  the  contrary,  restricted  to  the  use 
of  a  certain  letter  in  each  word.     The  earliest  examples  of  the  lipo- 
gram are,  perhaps,  the  two  poems  contained  in  the  eleventh  chapter 
of  Harizi's  Tahkemoni,  one  of  which  is  restricted  to  the  use  of 
the  letter  tJ,//,"i  in  each  word,  and  the  other  to  the  entire  omission 
of  the  same  letter.3     More  remarkable,  however,  are  the  two  lipo- 
grams  of  Abraham  Bedarshi,  one  of  which  consists  of  a  tl 
words,    each    beginning    with    the    letter    e)"$>N,4    and    the 
of  four  hundred  and  twelve  words,  each  of  which  is  restri 
the  use  of  the  letters  between  sj"^n  and  n"»^  and   the   o: 
of  any  letter  that  follows  "\"th  in  the  alphabet.6     His  so 
daiah,  likewise  cultivated  this  species  of  composition,  and  \ 
long    prayer,    each    word    of    which     begins    with     the 
D"D  .6      Difficult    as    this    mode    of    composition    is,    ther< 
nevertheless  a  number  of  poets  who  cultivated  it  with  more 
success.     Of  those  who  imitated  Abraham  Bedarshr's  first  lip 
mention  should  be  made  of  Joseph  ben  Sheshet  ibn  Latimi, 
fourteenth  century,7  Israel  Nagara  in  the  sixteenth  century, 


*On  the  various  forms  of  the  acrostic  comp.  Zunz.  Synagogale 
Berlin,  1855,  p.  105,  etc.;  MGWJ.,  vol.  47,  p.  171.  For  an  exct 
case  of  acrostic  see  Divan  of  Judah  Halevi,  ed.  Brody,  vol.  2,  p. 

*  Comp.  'jiDsnn  ed.  Kaminka,  Warsaw,  1899,  p.  114,  beginning  j- 
and   p.    116,   beginning   iyny  jlKJi  M^'itt 

*ytbtt  e\bx  (ion  ma  vol.  iv,  pp.  59-65),  comp.  also  ion  ma  vol.  ii, 
No.  5. 

*  poSn  ntpps  (in  numerous  editions;   see  Benjacob  D"niN  s.  v.). 

*  J'DOn  ncpa  (See  ibid,  s.v.) 

'  ♦n'taS  p  nw  nro  tpv  i  mjpaS  nSen  beginning  win  nx  •ras 
B'PIWM  pip,  Breslau,  1844).  Comp.  Zunz,  Literaturgescldchte,  p 
Landshuth  rmajtfl  HiDy,  p.  98. 

*  ^NIB"  DiTOT.  Venice,    1599,    No.    54,    beginning  nVlK  *itP«  JVriN 


Eccentric   Forms  of  Hebrew   Verse  83 

been  imitated  only  by  Wolf  Buchner12  and  M.  Hesse.13  In  regard 
Zedek  in  the  nineteenth.11  The  second  lipogram  of  Bedarshi  has 
been  imitated  only  by  Wolf  Buchner12  and  M.  Hesse.13  In  regard 
to  Buchner,  it  may  be  stated  in  this  connection  that  almost  all  his 
poetic  effusions  are  whimsical,  and  that  most  of  his  whimseys  are 
lipograms  of  one  form  or  other.  His  Shire  Tehillah,  for  instance, 
which  is  the  most  pretentious  of  his  poetic  compositions,  is,  with 
the  exception  of  the  first  six  leaves,  made  up  of  various  lipograms 
employing  different  letters  of  the  alphabet  for  the  different  poems.14 
While  most  of  the  lipograms  make  use  of  the  letter  e|"i»K, 
the  letter  N"n  was  also  not  neglected.  David  ben  Solomon  Vidal, 
in  the  sixteenth  century  (d.  after  1536),  composed  a  poem  of  a 
thousand  words,  each  beginning  with  N"n,15  and  the  same  was 
done  by  M.  S.  Eabener  in  the  nineteenth  century.18  In  the  18th 
century,  Aaron  Hayyim  Voltera  composed  a  religious  poem  each 


•Comp.    pjn   vol.  iii,  p.  164. 

'•Comp.    r'Din  m*UK    Leghorn,     1780,    fol.    43-47,    beginning    -|B>npM 

cek  "pN  bx  inx  zx  -pnyK  s^k 

11  x^bax  mx-iK  Van  iSin  ...mSstrn  ck  bx  matx.  bz-x  mat  peSs  s^m 
London,  1890.  He  left  out  the  name  Nathan  because  it  begins  with  pj 
instead  of  ^"bx. 

"  xbti  *VB%  Frankfurt,  1802;  nSnn  n»B>,  Berlin,  1808;  nVTT  W,  Frankfurt, 
1810. 

u  ntsnn  poSn  n»pa.  Hamburg,  1829.  According  to  Fiirst,  Bibliotheca 
Judaica,  vol.   i,  p.   390.     Hesse  is  only   the  editor,   not   the   author. 

u  Fol.  7a-8a  n*m  oj?  bx~KP  DD33  H©*1  each  word  contains  the  letter  r; 
fol.  12-29,  nSnn  n'tr  comp.  note  12  above;  fol.  29b-40a,  nWT  Tiy  consists 
of  more  than  850  words,  each  containing  a  b.  but  no  letter  that  follows 
i,  in  the  alphabet;  fol.  40-43  cnn  VX"h  nSnn  'Ttr  similar  to  tlip  preceding; 
fol.  44-46a  n  *i  biff  '2  oi,(?  nSnn  *TB>  omits  all  letters  between  x  and  b ;  fol.  46b-50k 
p'3  rr*"A  nSnn  n'c  contains  a  ji3  in  each  word;  fol.  50b-52a  T'N  n""vV  rbrv\  *VV 
has  the  letter  k  in  each  word.  The  same  method  is  carried  on  for  the 
other  months,  the  poem  for  jvd    has  the  letter  d   in  each  word  and  so  on. 

15  pnnn  ncpa  beginning  'isdh  Niian  niaan  'rvun  bxn   (in  his  m-r?  oroo 

Venice,  1546,  fol.  100a).    It  is  preceded  by  two  couplets  as  follows: 

j'nn  tvjfsrn  iD3i       nnao  nSiy  ]z-\p  oipoa 

pm  s\bx  xTi  nSiyn  wnro  nrvv  -]tvx 

nainn  iimx  w  nn«  urSo  wan 

idi«  xn  an  ip  nyic  Sip        j?ob»i  roDn  ann  nnK 

l'rpKn  Ttr  with  the  motto  T1TI3  tTN12  13Tt  Kn  (Ezek.  xvi,  43)  in 
niiBcn   nsiK,  vol.  i,  pp.  47-52. 


84  Students'  Annual 

■word  of  which  begins  with  the  letter  pp."  As  might  be  ex- 
pected, the  artificiality  of  these  compositions  was  no  aid  to  clear- 
ness, and  in  several  instances  commentaries  became  indispensable.18 

S.    Pictorial  Whimseys 

Belonging  to  the  same  class  of  whimsicalities,  though  not  so 
ancient  nor  yet  so  common  as  the  acrostic,  are  the  pictorial  whim- 
seys. It  is  generally  accepted  that  Hebrew  poets  first  learned 
from  the  Arabs  to  give  their  poems  the  shape  of  geometrical  figures 
or  figures  taken  from  the  vegetable  and  animal  kingdoms.19  But 
the  desire  to  embellish  the  exterior  of  poetic  compositions  can  be 
traced  to  much  earlier  times,  for  the  Talmud  has  already  prescribed 
various  forms  in  which  certain  poetic  passages  of  the  Bible  are  to 
be  written  in  the  scrolls.  Some  are  to  appear  like  small  bricks 
above  larger  bricks,  and  larger  bricks  above  smaller  ones,  and  some 
are  to  appear  like  small  bricks  laid  upon  small  bricks,  and  large 
bricks  upon  large  bricks.20  However,  as  these  whimsicalities  be- 
came more  prevalent  and  more  varied  in  the  Middle  Ages,  it  is  but 
reasonable  to  assume  that  Arabic  influence  had  something  to  do 
with  it.  Usually  such  eccentric  compositions  require  more  scribal 
skill  than  poetic  inspiration.  But  there  are  some  pictorial  poems 
in  which  the  construction  and  the  form  are  so  mutually  dependent 
upon  each  other,  that  they  require  more  than  the  mere  ingenuity 
of  a  scribe.  Such,  for  instance,  is  the  Tree  Poem,  which  Abraham 
ibn  Ezra  wrote  in  honor  of  Kabbi  Jacob  Tarn.21 

U.    Echo  Verses 

From  poetic  whimseys  which  appeal  to  the  eye  we  come  to 
consider  those  which  appeal  to  the  ear.     Of  course,  the  oldest  is 


"nenn  ntrpa,  Leghorn,  1740. 

M  Comp.  e.  g.,  nan  0*13,  vol.  iv,  p.  59,  and  the  poem  of  Voltera  men- 
tioned above. 

"Delitzsch,   loc.  cit. 

"Comp.   fVno,  16b;   D'IBiD  D3DD,  chap,  xii,  10. 

"nciso  "van  'i  p  spr  "h  TiBDn  kitj?  p  on-OK  "\  ...nvy*  fr* 
(in  Rosin,  Reime  und  Chdichte,  pp.  145-147).  The  Karaite  Aaron  b. 
Elijah,  the  younger,  also  composed  a  tree  poem  (Comp.  rnw  1fi3,  Gos- 
low,  1866,  No.  20).  (Communication  of  Dr.  Marx.)  Abraham  Gabison 
composed  a  poem  in  the  shape  of  a  seven-branched  candlestick  (nrotpn  101J? 
p.  134b).     Comp.  also  Steinschneider,  hn'W  nriBD,  p.  222. 


Eccentric   Forms  of  Hebrew  Verse  85 

undoubtedly  the  echo  verse,  so-called  because  the  last  word  of 
each  verse  consists  of  the  ending  of  the  preceding  word,  and  sounds 
like  its  echo.  The  mere  repetition  of  a  rhyme  in  the  middle 
of  a  verse,  however,  does  not  constitute  it  an  echo  verse.  The 
poem  of  Moses  ibn  Ezra,  for  instance,  beginning  31B>  3lt?p  ^n  Vi2W 
Dmi  Din,22  does  not  belong  to  this  class,  nor  are  the  poems  the 
Shibzi  beginning  hi  bin  and  n-pr  rrvT  Dim  "2\w  echo  poems 
in  the  strict  sense  of  the  word.28  It  is  necessary  that  the  repeti- 
tion of  the  rhyme  should  be  at  the  end  of  the  verse,  just  as  the 
echo  can  only  be  heard  when  the  original  sound  has  stopped. 

According  to  Kaufmann,  who  published  a  number  of  echo 
poems,24  the  echo  verses  are  especially  adapted  for  the  elegy. 
"Whether  this  opinion  be  accepted  or  not,  the  fact  is  that  we  have 
a  number  of  elegies  written  in  this  eccentric  form  of  verse,  such  as 
Joseph  ben  Solomon  ibn  Yahya's  elegies  on  the  death  of  Solomon 
ibn  Adret,25  and  on  the  destruction  of  the  temple,26  Jomtob  Val- 
vasson's  elegy  on  the  death  of  Leon  de  Modena27  and  Isaac  Aboab's 
(III)  elegy  on  the  destruction  of  the  temple.28  The  echo  verses, 
however,  are  by  no  means  restricted  to  the  elegy.  Immanuel  of 
Rome  wrote  a  love  poem  in  echo  verse,29  Israel  Nagara  composed  a 
hymn  in  similar  verses,30  Jomtob  Valvasson,  mentioned  above, 
wrote  a  poem  of  dedication,81  and  one  anonymous  echo  poem  has 


**  Comp.  Litbl.  d.  Or.,  1847,  p.  403,  also  nnCDPl  *MK,  vol.  v,  p.  94. 

"Bacher  considered  it  so,  comp.  his  Hebraische  und  arabische  Poesie 
der  Juden  Jemens,  p.  81,  and  the  Hebrew  part,  p.  4,  No.  23,  and  p.  11, 
No.    132. 

"Comp.  Z.  f.  H.  B.,  vol.  i,  pp.  22,  61,  114,  144. 

*  Comp.  ibid.,  p.  24,  the  echo  verses  begin  with  the  fifth  verse 
one  nna«  *w  nnm  win  ant?  nnwa  3'mnS  nrnp 

"Ibid.,  p.    115,  dvi  n'tripo  Siyi  it  's    onj  nnjas  nnaS  ijnp. 

"Ibid.,  pp.  145-146,  the  poem  proper  begins   yntw   103   in   Vl   nnoiK  Sip. 

"Comp.  pun,  vol.  iii,  p.   158,  beginning:    nno   DnOK   bift  Sss  '3»i\ 

"  Comp.  nnarra,  ed.  Lemberg,  1870,  p.  23,  beginning   naSs  noin  n'3S. 

■  nno  nn»*»  nv  rvsip  by  aS  hum  twtr  (in  Litbl.  d.  Or.,  vol.  iv,  526; 
also  in  Smart,  vol.  ii,  p.  308 ;  also  in  tyOMR,  vol.  iv,  p.  22 ;  Z.  f.  H.  B.,  vol.  i, 
p.  144). 

"ktj'io  n"n  y'afHa  rounS  bm  tb>  amn  in, Venice,  1661.  Comp. 
Steinschneider,  Die  italienische  Litteratur  der  Juden  (Monatsschrift, 
1899,  p.  421),  also  the  Russian  Jewish  Encyclopedia,  vol.  5,  col.  292, 
where  three   stanzas  are  quoted. 


86  Students'  Annual 

even  been  admitted  into  the  liturgy.82  Then,  again,  there  are  a 
number  of  didactic  poems  in  echo  verse  by  Meir  ben  Joseph  ibn 
Yahya,33  Moses  Abudiente,34  Moses  Zacuto,35  Joseph  Penso,86 
Moses  Hayyim  Luzzatto,37  Jacob  Daniel  Ulamo38  and  M.  Freund.89 
The  elasticity  of  the  form,  in  spite  of  its  difficulties,  has  been 
further  demonstrated  by  Buxtorf  in  his  prefatory  remarks  to  his 
lexicon,40  and  even  more  so  by  R.  Ftirstenthal  in  his  clever  dialogue 
between  a  beggar  and  a  miser,  in  which  the  miser  is  deceived  by 
the  echo  of  his  own  words  to  part  with  his  fortune.41 

5.    Macaronies 

Perhaps  the  most  whimsical  of  all  poetic  whimseys  is  the  maca- 
ronic, which  may  be  composed  in  one  of  two  ways.  It  may  consist 
either  of  various  languages  welded  together  in  one  and  the  same 
verse,  or  of  Hebrew  words  so  selected  that  they  may  be  phonetically 
interpreted  as  words  of  another  language.  Tradition  ascribes  to 
Samuel  ha-Xagid  the  composition  of  a  poem  of  seven  stanzes,  each 
in  a  different  language.42  But  the  earliest  existing  example  of 
the  first  kind  of  a  macaronic  is  Harizi's  poem  in  the  eleventh  chapter 
of  the  Tahkemoni,  each  line  of  which  consists  of  three  phrases,  one 
in  Hebrew,  one  in  Arabic,  and  one  in  Aramaic,  all  fused  into  one 


**  pcK-psii  aS  nnnB>  spn  San-Sana  amS  nnnn  no  (pio  *w  ieo  pt.  ii, 
fol.  21,  Amsterdam,  1793;  also  in  nnnwi  niyiatm  an  *no  SSia  ...O'liaa 
Vienna,  1889,  p.  3). 

m  D'tOT  B'tma  nKlpS  iaSn  no,  published  first  as  an  epigraph  to  the 
•man  *IED,  Fano,  1506;  reprinted  by  Kaufmann  in  Z.  f.  H.  B.,  vol.  i,  p.  116, 
and  by  Berliner  in  Aus  meiner  Bibliothek,  Frankfurt,  1898,  p.  33. 

M  nno  onotp  do  wtsn  iso'  onn  nnno  pn  paoa  o'Sm.  Sea  cpaon  1789,  p. 
162;  IAibl.  d.  Or.,  vol.  iv,  p.  729;  e^an  vol.  iv,  p.  23. 

"  Comp.  *]nj?   nnen,  stanzas  52-67. 

mw\  vti  *rvy  pns  lay  nr  'K  (in  his  mpnn  »tdk,  Leghorn,  1770,  foL 
17a). 

wComp.  tj?  Vuo,  Leipzig,    1837,   p.   77-78  ( t  pay   "T  pSn). 

"Comp.   jry  py.  §    14-34,   59-81,    147-149. 

M  D'Snan  nnn«  (in  pnr  'aaia,  vol.  31,  p.  105). 

*  Comp.  Lexicon  Hebraicum  et  Chaldaioum,  Glasgow,  1824,  p.  4.  The 
poem  begins  as  follows:  ony  nnj?an  Sa  iaip  amnan  mo  ^K.  It  is  reprinted 
by  Kaufmann  in  Z.  f.  H.  B.,  vol.  i,  p.  145. 

41  inn  in    Samoscz,  D'atntP  n*MK,   Breslau,    1827,    p.   74-75. 

**  Comp.   Steinschneider  Smc"  nn*D.  p.  248. 


Eccentric    Forms  of  Hebrew   Verse  87 

homogeneous  verse.*3  The  fusing  of  Hebrew  and  its  sister  lan- 
guages, Aramaic  and  Arabic,44  may  not  appear  so  difficult  or  so 
strange  as  the  fusing  of  Hebrew  and  European  languages,  yet  even 
this  feat  has  been  accomplished.  In  a  volume  of  liturgical  com- 
positions entitled  ninocr  jne>  (Leghorn,  1782,  folio  27a),  there 
is  a  poem  for  the  feast  of  Purim  in  which  Hebrew  and 
Spanish  are  fused  together,48  and  in  a  similar  collection  entitled 
pto  tb*  (Amsterdam,  1793,  fol.  21-22),  we  find  two  more 
poems  in  which  Hebrew  and  French  are  the  component  parts.48 
Mordecai  Astruc47  composed  three  macaronic  poems  in  which 
Hebrew  and  Provengal  are  used  in  alternate  verses,48  and  Yomtob 
Valvasson  wrote  a  sonnet,  each  verse  of  which  consists  of  Hebrew, 
Portuguese  and  Italian.49 

The  device  of  mixing  languages,  however,  is  not  quite  so  dif- 
ficult nor  quite  so  startling  as  the  use  of  Hebrew  words  which  at 


a  'Jinsnn,  ed.  Kaminka,  pp.  112-114.    See  also  Montsschrift,  1857,  p.  220. 

"Delitzsch  erroneously  ascribes  a  poem  written  in  Hebrew  Aramaic 
and  Syriac  to  Raphael  Meldola  (See  Zur  Gesch.  d.  Jiid.  Poesie,  p.  164). 
The  poem  he  refers  to,  while  written  in  these  three  languages,  does  not 
belong  to  the  class  of  Macaronics,  and  is  the  composition  of  Raphael 
Emanuel   Hai    Ricchi    (Comp.  in^N  mix,  Leghorn,  1742). 

*°  'x  dviid  ,vhi  n»n  jxixnx"'?  'D  Max  '»  .ns'ajxv1?  r6x  nme  n  ru'zaxp 
p&h  nonai   ]van  yj  ,yvhy  htt  'a  lis  p'Dx  cux'nax 

**  One  begins  o'o  J'D  'X  rrrrx  po  WQvh  nty  HITD  and  the  other  begins 
JVD3HH  xS  h  "iva'D  Sx  xvii'a  X'.  The  first  was  also  edited  and  translated  by 
Ink   (Jellineck)  in  Litbl.  d.  Or.,  1844,  p.  670-672. 

47  Probably  the  same  who  is  mentioned  by  Zunz  (Zur  Oeschichte,  p.  473) 
as  the  author  of  the  piyut  ore  rvn  PM 

48  a)  n:aS  'n  nxv  xsnx  pen  v.n^p  nro  'nee  nrtflx.  b)  Wf  ?2VD 
rrvtw  ,4U  mpS  px  "p  jxb  ,»n  c)  xisyd  'p  h*v  axn  an  pro  *Wa  'net?  nncx 
naiya  ]2iv  hit  -\nv  mis  xran.  The  second  poem  was  first  published  by 
Asher  in  Litbl.  d.  Or.  vol.  v,  p.  733.  It  was  afterwards  re-edited  and 
transliterated  by  Ink  (Jellineck)  in  the  same  periodical,  vol.  vi,  p.  90-92. 
Jellineck  also  pointed  out  that  it  has  the  name  of  »2"na  in  acrostic.  The 
three  poems  are  now  contained  in  a  little  volume  entitled  Potsies  Eebraivo- 
Provencales  du  Rituel  Israelite  Comtadin,  traduites  et  transcrites  par 
S.M.  Dom  Pedro  II.  d'Alcantara,  empereur  du  Br6sil,  Avignon,  1891 
The  third  poem  has  i"x<  print?*  'ana  in  an  acrostic.  It  is,  therefore,  safe 
to  assume  that  the  three  poems  were  composed  by  the  same  man.  The 
editor,  however,  failed  to  notice  this  acrostic  and  put  forth  the  suggestion 
that  the  author  was  perhaps  Mordecai  Ventura  ( ibid.  p.  vi ) . 

•Comp.   Monatsschrift,   1899,  p.  421. 


88  Students'  Annual 

the  same  time  convey  phonetically  a  meaning  in  a  different  lan- 
guage. According  to  Reggio,50  Leon  Modena  was  the  first  among 
Hebrew  writers  to  invent  this  class  of  poems.  He  has  reference 
to  the  octave  which  Modena  wrote  at  the  early  age  of  thirteen  on 
the  death  of  his  teacher  Basula.  This  short  poem,  though  written 
in  Hebrew,  can  also  be  interpreted  as  if  it  were  Italian.51  Eeggio's 
statement,  however,  is  doubtful,  for  we  find  that  Menahem  de 
Lonzano,  an  older  contemporary  of  Modena,  reproached  a  certain 
poet  for  composing  a  Hebrew  poem  which  began  with  the  words 
noin  D"i  DJf  no  hv  'CHD  to  the  tune  of  a  non- Jewish  song  which 
began  with  the  words  'DiTWD  "K  KO^K  'D  'onwo.52  Evidently 
until  we  ascertain  the  identity  of  this  poet,53  we  cannot  say  whether 
Modena  was  the  first  to  invent  this  class  of  macaronics  or  not. 

In  the  seventeenth  century  Moses  Hayyim  Catalano  wrote  a 
poem  in  honor  of  the  marriage  of  his  sister,  which  likewise  can 
be  read  as  Hebrew  or  as  Italian.5*  A  certain  Judah  ha-Rophe,  in 
the  eighteenth  century,  composed  an  epithalemium  which  can  be 
read  as  Hebrew  as  well  as  Yiddish.55    In  the  eighteenth  century 


"Comp.  nSapn  nrna,  Goritiae,  1852,  p.  8. 

81  The  elegy  begins:  ia  ixik  DB3  no  in  mat?  na'p,  Comp.  Libowitz 
namo  K"n,  N.  Y.,  1901,  p.  7. 

"The  passage  in  Lonzano's  nw  VW  (Venice,  1618,  fol.  142a)  reads 
as  follows:  \v£h  man  nnea  linnet?  on'tr  m?  Kin  diko1?  mn-ib»  no  bin,, 

"1DN1     '01V81D    "K     KO'jN     'O    '01VK1D    DyuS    *W    *13'ntP    1D1K3    TJ?Sn 

o  yv  nb  Mini  bru  *ian  ntrytr  wj»  nNiai    "'isi  nam  on  oy  na  by  w\o,, 

pi  ,annj?  nvyv  la^i  neNiani  «iKi:n  nan  isit  naisn  n  nxT  vh  Kin  Sias  nrs  w 

"nn  nann  Sai  "mvyv,,  oipaa  "Niia  db>„  onaiKn 

"Dukes  who  first  cited  the  passage  quoted  in  the  preceding  note 
made  the  erroneous  statement  that  Lonzano  had  reference  to  Israel  Nagara 
(Litbl.  d.  Or.,  vol.  iv,  p.  359).  He  was  evidently  misled  by  the  fact  that 
later  on  the  same  page  he  speaks  of  Nagara.  Graetz  (Geschichte,  vol.  ix, 
p.  395)  and  Bernfeld  (efQHn  vol.  iv,  p.  20-21)  followed  him  blindly,  copy- 
ing even  the  misprints,  e.  g.,  a*i  tap  for  di  oy.  The  same  is  done  by 
Rosanes  in  his  recent  work  on  the  Jews  of  Turkey  (na*Wina  btr\VF  'B'  nan 
vol.  iii,  pp.  176,  313). 

"Reprinted  by  Wolf  in  his  BibUotheca  Hebrwica,  vol.  iii,  p.  726.  It 
begins   wmk  nion  ]TN  Comp.  also  Monatsschrift,  1899,  p.  420. 

"Wagenseil  (Sota,  Altdorf,  1674,  p.  49)  states  that  Judah  ha-Rophe 
had  told  him  of  this  and  that  he  himself  remembered  only  the  first  line, 
which  is  as  follows :  na'Bl  B»«*in  ]3K  D^nK  3B»v  V>H  aipjr,  Jaacob  is  jo  so 
woll  im  eben  heraus  auf  eina.  Fiirst  (B.  J.  ii,  p.  49)  invents  the  title  of 
namn  w. 


Eccentric   Forms  of  Hebrew  Verse  89 

this  kind  of  writing  was  cultivated  by  Ephraim  Luzzatto,58  but  the 
cleverest  of  macaronics  are  the  echo  macaronics  of  Rosenzweig. 
In  his  book  of  epigrams  there  are  a  number  of  them  in  which  a 
girl  is  represented  as  soliloquizing  in  Hebrew,  and  the  echo  re- 
sponds to  her  sentiments  in  English.57  Aside  from  the  epigram- 
matic sting  of  these  couplets,  the  effect  of  the  combination  of  the 
two  devices  in  one  verse,  the  echo  and  the  macaronic,  is  quite 
startling. 

6-7.     Typographical  and  Hieroglyphic  Eccentricities 

In  a  manuscript  collection  of  liturgical  poems  coming  from 
Tunis,  and  now  in  the  library  of  the  Jewish  Theological  Seminary 
of  America,68  I  find  two  poems  which  seem  to  me  to  be  unique  in 
character,  and  may  be  designated  as  typographical  whimseys. 
Their  peculiarity  consists  in  spelling  out  the  letters  of  the  last 
word  of  each  stanza.69  One  of  the  poems  has  the  name  of  prrcr 
in  acrostic,  and  the  other  that  of  ^"IB.  It  is,  therefore,  safe 
to  assume  that  both  are  the  compositions  of  Isaac  Faragi.  The 
same  manuscript  contains  another  poem  by  Faragi,  the  peculiarity 
of  which  is  that  the  names  of  almost  all  the  diacritical  signs  are 
woven  into  the  poem  and  made  an  integral  part  of  it.  It  is  not  far 
from  possible  that  it  was  the  intention  of  the  author  to  substitute 
the  diacritical  sign  in  the  place  of  its  name  and  expect  the  reader  to 
supply  the  meaning  himself.  It  is  for  this  reason  that  I  designate 
it  as  a  hieroglyphic  whimsey.80 

8-10.     Chain  Verses,  Monosyllabic,  and  Monomial  Verses 

There  are  also  several  whimsical  devices  which  in  a  measure 
appeal  both  to  the  eye  as  well  as  to  the  ear.  One  of  these  is  to 
be  found  in  the  so-called  chain  verses,  which  are  so  constructed 


••a)  '3ioS«  '3iSs  niiap  rmn  (in  his  omyan  '33  nbn,  London,  1768,  p. 
42);    b)  nainn  nv1?  iiotd  *w  (ibid.   p.    54). 

■  in  topi  rfeftp  top  (in  Ms  tfm  neon,  N.  Y.,  1903,  p.  284). 
M  DmBDO  DTtri    D'BVB    'D  MS.  Hirsch,  47. 

wComp.  below  Hebrew  poems  Nos.  1,  2.  Incidentally  it  may  be  men- 
tioned that  Zabana  also  made  use  of  this  device.  Comp.  my  edition  of 
nymyv  *ibd,  N.  Y.,  1914,  p.  63,  note  7. 

■  Comp.  below  Hebrew  poems  No.  3. 


90  Students'  Annual 

that  each  verse  begins  with  the  same  word  with  which  the  prece- 
ding verse  ended.  Playful  as  such  poems  would  seem,  they  are 
nevertheless  found  in  the  Liturgy.61  Another  device  which  like- 
wise appeals  to  the  eye  and  the  ear  is  the  exclusive  use  of  mono- 
syllabic words.  Such  poems  were  written  by  Buchner82  and  Ra- 
bener.63  The  monomial  verses,  on  the  other  hand,  are  poems  each 
verse  of  which  consists  of  just  one  word.  Poems  of  this  class 
were  written  by  N.  I.  Fischman,84  L.  Marcus,85  and  M.  Strelisker.86 
In  none  of  these  is  the  art  of  poetry  developed  to  any  great  extent, 
but  from  the  point  of  technique  they  form  rather  an  interesting 
group. 

11-12.    Palindromes  and  Jesuitical  Verses 

Attention  may  now  be  turned  to  those  verse  forms  whose 
eccentric  character  depends  not  so  much  upon  external  devices, 
as  upon  some  inner  peculiarity,  and  for  this  reason  appeal  to  us 
not  through  the  auditory  and  visual  senses,  but  rather  through 
what  may  be  called  our  logical  or  intellectual  faculties.  Such  are 
the  whimseys  known  by  the  names  of  palindromes  and  Jesuitical 
verses.  These  two  eccentric  verse  forms  are  to  a  certain  extent 
the  complements  of  each  other.  A  palindrome  is  a  composition 
which  can  be  read  both  forward  and  backward,  producing  the 
same  sense.  Jesuitical  verses,  on  the  other  hand,  are  so  con- 
structed that  they  have  one  meaning  when  read  forward  and  the 
opposite    meaning    when    read    backward.     Immanuel    Frances,87 


"One  is  by  Moses  ibn  Ezra,  beginning  'nnan  'nsari  'n*W  niQTD  (in 
ormnx  oi'jrn  Berlin,  1900,  p.  129;  Brody  &  Albrecht  "iHPn  lye,  N.  Y.,  1906, 
p.  81.  The  other  is  a  penitential  hymn  by  Isaac  b.  Yakar  beginning 
'nuS  who  tveo  tik  (maamtry1?  nirvbD).  Mandelkern  finds  this  device 
even  in  the  Bible    (comp.  nnBDn  TiiK  vol.  ii,  p.  367). 

•*   Comp.  Buchner  nSnn  ♦vp. 

**&)  in  2K  if  'n  bn  e"  .'nonn  tow  vol.  Hi,  p.  146);  b)  trm  w 
DH'cn  Snpa  mSnn  (van,  vol.  iv,  No.  12). 

•*  wit  DTK  'M-rvtwo-rvnnn  (icsn  vol.  v,  p.   149). 

"a)  napn  (in  *X&tt,  N.  Y,  1892,  No.  1)  ;  b)  jvsS  beginning  -nj?DJ-pnt 
nSD-p'X-ntya-JVJn-Ktwjvjin  (in  nanp  N.  Y,  1899,  p.  36).  The  first  poem 
was  parodied  by  Zolotkoft*.  Comp.  Davidson,  Parody  in  Jetvish  Literature, 
N.  Y,  1907,  p.  254. 

"risen  n'twnS  beginning  not? - noia - o'niaaa- wnhn  (in  ican  vol.  v,  y. 
153). 

OTComp.  n'netrpnD,  Berlin,  1892,  p.  24,  beginning  pinS  la1?  "]b  »n\ 


Eccentric   Forms  of  Hebrew   Verse  91 

Naphtali  Kohen,83  and  Jakuthiel  of  Wilna69  have  each  given  us  a 
sample  of  a  palindrome,  while  the  Jesuitical  verses  have  been 
cultivated  by  Judah  Harizi70  and  Immanuel  of  Eome.71  In  this 
connection  mention  may  be  made  of  a  Yiddish  proverb  which 
makes  use  of  a  palindrome.  The  proverb  reads  pnw  B3ND  i:rm 
jmv  The  word  urm  (and  they  shall  give)  reads  the  same 
forward  and  backward.  In  other  words,  they  who  give  have  also 
the  right  to  demand.72 

IS.    Mosaic  Verses 

A  great  deal  of  ingenuity  is  also  shown  in  the  Mosaic  verses. 
I  have  in  mind  three  such  compositions.  The  one  is  the  letter  of 
Solomon  ben  Simon  Duran,  consisting  entirely  of  Talmudic 
phrases  strung  together  so  as  to  make  one  homogeneous  composi- 
tion.73 The  other  two  are  poems  by  Immanuel  Frances,74  and 
Moses  Abudiente,75  each  word  of  which  is  found  in  the  Bible  as 
a  proper  name,  but  in  the  poem  all  of  them  retain  their  original 
etymological  meaning. 

lJf.    Mnemonic  Verses 

Equally  ingenious  are  the  Mnemonic  verses,  which  fall  into 
two  classes.  In  one  class  the  verses  are  intended  as  an  aid  to 
memory,  and  consist  of  words  which  help  us  to  remember  facts 
and  dates,  and  at  the  same  time  convey  the  meaning  required  of 
them  in  the  poem.  In  the  other  class  the  numerical  value  of 
the  Hebrew  letters  is  taken  into  account,  and  each  verse,  when 
the  value  of  its  letters  is  summed  up,  amounts  to  a  certain  number, 
usually  the  year  of  the  composition.  Of  the  first  class  of  Mnemo- 
nics Abraham  Gabison  cites  two  examples.     One  is  a  versification 


"  Comp.  pun   vol.  i,  p.  100,  begins :    Wl  kSoS  '3ipS  nSnx  :rksr\. 
"Comp.  riNtn  nSjon  ioS'iio  xenn  vh  mm*  p  Sx'mp'  nxo  nuo  niSco 
mnxoi  meSn  nx-ip;,  ed.  by  L.  Scherschewsky,  Vienna,  1879. 

70  Comp.  '31133  nn.    ed.  Kaminka,  p.  86-87,  beginning:    UTOOTCU. 

71  Comp.  nrCHD,  chap,     ii,     ed.    Lemberg,    p.     86-87,  ms"n  nV'Son  and 

.frman  nrSan 
"  Comp.  Bernstein,  Jiidische  Sprichworter,  Warsaw,  1908,  p.  94. 
78  Comp.   non  013,  vol.  be,  pp.  110-113. 

74  Comp.    dtiSC  pna,  pp.  59-59,  beginning    ccin  oioy  ntr  mm 

75  Comp.  Litbl.  d.  Or.,  vol.  iv,  p.  784,  beginning  21B»  W  HB>  '1«. 


92  Students'  Annual 

of  the  Talmudic  tracts  by  Isaac  ibn  Zimrah,  written  in  the  meter 
of  Judah  Halevi's  Zion  Elegy,76  and  the  other  is  a  versification  of 
the  names  of  various  chapters  of  the  Talmud  by  Saadia  ibn 
Danon.77  A  similar  poem  with  a  double  commentary  was  written 
by  Shabbethai  Beer.78  To  the  second  class  of  Mnemonics  belong 
the  poems  of  Eichenbaum,79  Gottlober,80  Sommerhausen,81  A.  J. 
Stern82  and  Zweifel.83 

For  the  sake  of  completeness,  we  might  also  mention  other 
verse-forms  which  are  eccentric,  though  difficult  to  put  under  any 
specific  classification.  Such,  for  instance,  are  the  poems  in  the 
ninth  chapter  of  Harizi's  Tahhemoni,  where  the  poet  undertakes 
to  frame  verses  around  some  given  Biblical  sentence,  or  the  Piyut 
of  Kalir  for  Purim,  every  stanza  of  which  begins  with  one  of  the 
words  of  the  seventeenth  verse  in  the  second  chapter  of  the  Book 
of  Esther.8*  Perhaps  this  might  be  considered  as  a  form  of 
acrostic. 

There  may  be  other  eccentric  compositions  entitled  to 
be  included  in  this  study,  such  as  the  Anagram,  the  Riddle,  the 
Alliterative  compositions,  and  the  Tegnis.  But  these  must  be  left 
for  another  occasion,  as  they  are  not,  strictly  speaking,  eccentrici- 
ties of  form. 

The  foregoing  account  is  in  no  way  intended  as  a  defense  for 
this  class  of  poetic  composition.  There  cannot  be  the  least  doubt 
that  these  eccentricities  tend  to  make  these  compositions  clumsy 
and  cumbersome,  and  very  rarely  add  to  the  intrinsic  value  of  the 
poem.  But  the  student  of  literature  has  to  take  account  of  every 
literary  phenomenon  that  presents  itself. 


wComp.  nnstm  iDiy  Leghorn,   1748,  fol.  123c. 
"Ibid.,  fol.  123d. 

"Comp.  ppjnKaiBD  Venice,      1674,     fol.      1-6.       It     begins  l^K  nwn 
DnnS  JVyatP  'OTlS    [Communication  of  Mr.  Israel  Schapiro.] 
"  Comp.  his   rnOT  Sip  Leipzig,   1836,  p.  49-53. 
*°  *"ptb  W  (in  Wohlman's  D'aaian  1865,  p.   30). 
"nvn  njH  (in  Filipowski's  ei'DHHIBD  Leipzig,  1849,  pp.  110-113). 
"  Comp.  Zeitlin,  Bibliotheca  Hebraica,  p.  382. 
M  min  nnao  (in  non  ma  vol.  ix,  p.  80-81). 
M  pn  now  pw  smw  (Skib"  miaj?  p.  674). 


Eccentric   Forms  of  Hebrew  Verse  93 

Hebrew  Appendix 
illustrating  the  typographical  and  hieroglyphic  eccentricities." 


e»-n  -iciy  rro  tr* 

10c  noxn     d^t  riyo  -n'¥ 
imp*  sd        c^:bi  33Yi 

tfn  t|"ip  pr  inhr  ^k  $>3 
c"n  n'^n  cj4k  irta  en  161 

Mnw      mn  ^33  pD'n 

^ya3i  imoa  p«  «a 
^yc3  '3  wn  d'dti 

jj,//,-,  nw,3  pp  DlT^  pNEn 

^awo  n^yn  N^sncjnDi'p 

s3v  p«  $>«  N^>3n  rrao 

«»ab  dv  3«n  rt?o  njrr  dc 

c"n  N"n  d"d  nmn  t,t  ny 

86  r**1  V',1  Cl'^K   HN-U  T^K31 

2 

D"D  K"H  D"»  I^TJI  lK^'B 

Co  y'v  d"d         fan  iyr 

vca  raw      "jit^  cnvn 

•varwi  |3ic     ^w  ~mt  ^k 

wn  ^>3       ^"yo  nbm 

d"d  c"n  n'^o       H3^>  Kin  '3 

d"o  n'6n  ^'"ip  n^v  nnn 

niQ3   -IDN3  1TB»   113'J 

■raj  *mx3       ins  man 

-nan  1^  px         trm  D'on 

d"d  T'r  x"n        D»r6na  id 

D"D  n'fl  C"n   0*0   NV  11VJ3 

mSyo  ,aic  rnoa  un* 
m^D  nvn  tfnm  inds 
roSxw  bbrb       rtaa  dipd 

d"d  n*H  «i'6s  loaxa  "fir 

W  spin  nx     D'lno  vprn 

wxj  now         n'uy  jnr 

n*  nny  "3         Dipe  up 

d"d  ti"3  T»S        nwx  yc 

87  d"d  v^n  rfm  'bin  nx  ^ 

See  above  Nos.  6   and  7. 

MS.  Hirsch,  47,  fol.  92a,  No.  32.  "/&{<*.    ibid.     No.  33. 


94 


Students'  Annual 


•qjbo  ti  bao  Txba  TW 

llB'm  1,b  D'JTXO   pnt?3  f.1 

pna  -pxv  npiva  iaio  bx 
pntj>  anb  B»n  papbi  spoxb 

pill  pXID^D  bx    XpIT 

nxn*  "]bm  iaiB>  yiot?  "p** 

laxaa  ibn  b*m  -itb2  ay 

t?ni  ior  p  nvb    pj 

pnn'bip  nb  p)x  xtrbn    rajr 

rna  xbrxa  ysai   xpDB 

natr  navyo  dp  onayo 

taiy^  "|b  DVDV  .TJHIW 

ibbi  ava   hu  upra    B»n 

lbm  mo  penu   woa 

ibr  sail  bx  ny  nt  vano 

iaxi  an  ••a  iy  xnio  yixo 

uk*  nu  na  w  n 

nbnv  nav   em  biy  xitwo 

nbeio  n\m  nsp  nvina  ia 

nbno  so  nbne>  inaoe>n 

lain  nny  ina1*  wt^o  nix 

88  raaw  d*vp  "pa  bai  nx 


noon  ^n  vnp  nxb'a 

novy  noi  dij  by  fr 

T»Dn  ip^  no  jrvmb  a'i 

IT  Din  bixab  px  -jnba 

■pa  Dan  by  '•a  noxa  pi 

noxj  p)po  ns'pn  Diya 

noyanxj  xnbnob  nvnny 

ma  rx  »a  ie>a  *n  ^bxn 

x^ya  niiD  ma  mpb  xin 

Tjn  non  iw  aaip*  }p 

nooippTaiDW  TDino  nb 

noip  babnnn  dj  laon^ 

loy  |x  ny  pop  p)pra  n"< 

i,oyr  ••baa  nbe>be>  iae>o 

-joyo  loyo  aio  poyo  pin  Dy 

nobt?  Dpa  ivbi  xb»  tt 

noma  Dab  nx  nanx  Dras^n 

eiitay  sb  io  nai  ab  »'j>TO 

spam  ^y  mm  oa  a^n*  iv 

p|ioe>  oa  bo*  nbiac  e>xia  t^n 

nomironx  i,b   p^o  u» 

non j  xnpb  ab  by  iaT  -|b 


1  MS.  Hirsch.    Part  II,  fol.  81,  No.  31. 


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